Tuesday, February 25, 2014

Takeshi Terauchi is an Instrumental/Surf guitarist from Japan that has earned a legendary status overseas, but is fairly unknown in North America. His guitar playing style is frequently described as wild and frantic and he is also often listed as being a contemporary in regards to his guitar playing ability alongside artists such as Davie Allan & The Arrows, Link Wray and The Ventures. Takeshi or Terry as he goes by, started playing guitar in Jimmy Tokita & The Playboys who played Country and Western styled music. In 1962, Terry formed Takeshi Terauchi & The Blue Jeans, an instrumental group that performed instrumental Surf music. The band played what was called “eleki” music, which was a new thing at the time, but basically meant electric guitar music. The “eleki boom” was spearheaded by The Ventures visit to Japan in 1962, which resulted in thousands of young aspiring Japanese musicians to create electric guitar music. Takeshi played with The Blue Jeans until 1966, right around the time of the British invasion when bands such as the The Beatles and others of that time made their mark in the US and around the world. Being influenced by British Invasion styled sounds at the time or as what was commonly referred to as GS (Group Sounds), Terry formed Takeshi Terauchi & The Bunnys who also incorporated vocal numbers into their sound. This was done in addition to the Instrumental Rock and Surf stylings that were first explored in The Blue Jeans.

The first album released by The Bunnys was the album Let’s Go Terry!, which was prefaced by the December 1966 single “Terry’s Theme” and was backed with the energetic and frenzied “Test Driver”. Both these songs would make it on the Let’g Go Terry! album, which also goes by the name Bunnys Tanjou. Let’s Go Terry! brought forth a dirty Garage and Punk styled sound at times, blended with 60s Pop Group Sounds influenced by the British Invasion sound and also traditional Japanese Folk songs, which would be incorporated and adapted to Terry’s “eleki” guitar sound in more detail on The Bunny’s second full length album entitled Seico Tera Uchi Bushi. Let’s Go Terry! featured many fuzzed out Garage riffs blended with a Punk attitude songs such as “Black Carnation” that also features prominent and haunting organ parts, “The Glamour Of The Sun” which is an organ fuelled song that sounds like an amped version of the early Kinks sound. “Terry’s Theme” which was first released as a single, features a more mid tempo pace, but an extremely catchy melodic guitar line, while “Test Driver” begins with a hectic drum pattern, followed by a building organ part before the guitar kicks in with a frantic western twang.

The vocal tracks on this album are also worth mentioning. Despite begin sung in Japanese it is difficult to ignore “Irrevocable Vow”, a slower paced Pop song that sounds influenced by fifties Rock ballads, “Burning, Burning” that seems to blend a sixties Garage sound with Minyo, Japanese Folk elements. The middle section of this song slows down as shouting is heard. The song then launches into a solo that sounds influenced by Dave Davies. “Dream In The Ocean” sounds like it could have been influenced by the early sounds of The Beach Boys, while “I Believe” ends the album in a slower fashion with its flamenco styled guitar parts.

Takeshi Terauchi & The Bunnys did not remain together too long, they disbanded in 1968. It was rumoured that he reformed The Blue Jeans to focus on his guitar playing and get away from the Group Sounds that were prevalent in The Bunnys. Throughout this period with The Bunnys, there was however a plethora of material released. The Bunnys released sixteen singles and six albums. In 1969, Terry reformed The Blue Jeans and has continued to play with the band ever since. 1966’s Let’s Go Terry! still stands as a testament to the wild Rock and Roll sound that Takeshi Terauchi could produce and balance with slower vocal based, Group Sound material. Songs such as “Burning, Burning”, “Test Driver”, “Black Carnation” and “The Flying Guitar” all serve as examples of the Garage and Punk aesthetic that was displayed by Takeshi Terauchi that he blended with his Ventures and instrumental Surf Rock sounds. Although Takeshi Terauchi has played a variety musical genres, Let’s Go Terry! is one of the examples of him branching out. The song “Irrevocable Vow” is perhaps a good metaphor for not only this album, but Takeshi Terauchi’s time with The Bunnys. Irrevocable means in essence something that cannot be reversed or changed. With Let’s Go Terry! and his work with The Bunnys, Takeshi Terauchi incorporated Group Sounds into his music and after a short period of time and a wealth of music that was produced during that time frame, it was over and he moved on to something else. Takeshi Terauchi did not go back or change or continue with the music he once created with The Bunnys, but the music remains for us to discover. -----------------------------------------------------------------------------------------------------

This year's Revolution Surf program once again featured a guest segment from Derk Brigante of the Surfphony of Derstruction 2000 podcast. Derk previously had his program Surfphony of Derstruction on CJAM FM, but it now continues a podcast online. His podcasts are highly recommended, which draw from a well of new and old Surf music. Derk also first introduced me to Takeshi Terauchi many years ago, his selections for this years Revolution Surf were both interesting and diverse. You can hear his podcasts over at his Surfphony of Derstruction blog and also like his page on Facebook.

Tuesday, February 18, 2014

Grant Green was a Jazz guitarist that has, as often noted been overlooked during his lifetime. Green was born in St. Louis, Missouri on June 6th, 1935, he quickly built up an ability to play guitar and started sitting in Jazz bands as early as age 12. He was influenced by other Jazz guitarists such as Charlie Parker and Charlie Christian, but while he was known as a Jazz guitarist his playing was said to always have been deep rooted in Blues. Green would become associated with the Blue Note label and recorded a large number of recordings for the label both as a sideman and as a solo artist, his recordings total over 20 for Blue Note alone. Later in his career his style would cater more towards Funk and Soul, and after a resurgence of interest in the nineties, Green has come to also be considered the father of “Acid Jazz”.

Many cite 1963’s Idle Moments as one of his best for Blue Note, however in 1964 he recorded two sessions that are often seen as some of his most interesting and inspired works, they also remained unreleased for fifteen years before they saw the light of day. With two thirds of John Coltrane’s rhythm section Elvin Jones on drums and McCoy Tyner on piano and Bob Crenshaw on bass, Green recorded what was to become the album known as Matador in June of 1964. In May of the same year he headed back into the studio with the same core of musicians to record was was to become 1964’s Solid and as such, Solid is seen as a companion piece to Matador. It should also be noted that while Jones, Tyner and Crenshaw are on both of these releases there was a horn section on Solid only. The horn section was James Spaulding on alto saxophone and Joe Henderson on tenor saxophone for Solid. Nevertheless, Solid turned out to be a hard hitting collection of songs, said to reflect a Hard Bop Jazz style, that differs from most of the work that Green is known for.

2010 Music Matters reissue

Solid initially was released with five tracks, “Minor League”, “Ezz-Thetic”, “Grant’s Tune”, “Solid” and “The Kicker”. When it was remastered and reissued for CD, it was appended to include “Wives And Lovers” by Burt Bacharach. The exact same version of this song is also included on Matador. Duke Pearson’s “Minor League” opens the album with an upbeat swing propelled by Elvin Jones’ drumming, Green’s melodically crisp guitar solo lines, which trades off between horn section solos and piano solos, all the while it is held down by Crenshaw’s steady smooth bass lines. “Ezz-Thetic” is said to be an experimental piece with Jazz modal scale stylings from Green, “Grant’s Tune” is the only original composition he has on this release, but this song like Sonny Rollins “Solid”, are deep rooted in Blues. Joe Henderson’s “The Kicker” ends the album in an upbeat and inviting fashion. This song was also found on Bobby Hutcherson’s The Kicker released in 1963, which Green played on as a session guitarist. Green’s version while recorded in 1964 would not be heard until Solid’s posthumous release in 1979.

During his time as a Jazz guitarist comparisons were made between Green and another Jazz guitarist known as Wes Montgomery. While both obviously had technical skill and ability, Green’s style of play has often been said to have been more melodic and crisp and as mentioned previously, rooted in Blues. Grant Green was said to have also played a green guitar, wore a green suit, and even drove a green cadillac, playing into his namesake. Green passed away due to a heart attack on his way to a gig on January 31st, 1979. In addition to his notable Blue Note recordings, his later Funk and Soul inspired recordings are also noteworthy especially 1972’s soundtrack The Final Comedown. Matador along with Solid may not have been heard during Green’s lifetime, but are now seen as some of his most interesting early work recorded for the Blue Note label. They are an example of what was in turn a formative influence on Jazz guitar music put forth by Green.

Tuesday, February 11, 2014

Forming in 1992 in Detroit, Michigan, The Hentchmen are a three piece Garage Rock band that took 60s Garage as a model and main influence. The band consists of John Syzmanski on organ/vocals, Tim Purrier on guitar and Chris Handyside on drums originally, he was replaced by Make Latiluppe in 1995. The Hentchmen became a popular live band playing around Ann Arbor, Michigan, in places such as the Magic Stick. Their first release was 1994’s Ultra Hentch and the band eventually got a record deal through Norton Records. But, in 1998 for a short period of time the band featured Jack White on bass. Jack came into the band following a live collaboration in February of 1998, where he played guitar with the band on a cover rendition of The MC5’s “Looking At You” and the song “Some Other Guy”, which would wind up as The Hentchmen’s next single. It should also be noted that Jack White played with The Hentchmen and played in other numerous bands at this time. He did vocals/guitar for 2 Star Tabernacle, played in The Go, had a short stint with Goober & The Peas and was also working on a new project at the time, which would become known as The White Stripes. The first recorded seven inch single was “Some Other Guy” a song originally by Richard Barrett, and “Psycho Daises” a song that was originally by The Yardbirds when Jeff Beck and Jimmy Page were both in the band, Jack White played guitar on these tracks. Following this single, The Hentchmen with Jack White on bass entered an old auto factory known as Room 222 in Pontiac, Michigan, with Jeff Meier to record what was to become the nine track album Hentch-Forth.

The Hentchmen have often described their music as “hit and run” music. It captures the spirit of 1965, with their unique blend of organ fuelled Garage Rock sounds mixed with elements of 70s Punk at times as well. The music on this album is raw and unpolished, and was recorded over the course of a weekend in August 1998. The album featured songs such as the fuzzy locomotive riffs and catchy “ooh, ooh’s” of “Yesterday’s Trash”, “LA.M.F.” is short form for “late model Ford” and is also seen as an homage to the album by Johnny Thunders & The Heartbreakers of the same name. The song chugs along with its watery organ sounds, driving bass and jangly guitar rhythms, while lyrically the song portrays images of an old car breaking down and a character who believes in his car making it home one more time, before it runs no more. Furthermore, the song takes on an even deeper meaning when considering that the band is from Detroit, Michigan, which is known for their automotive manufacturing plants. “Automatic” follows with its frenzied riffs, pacing and lyrics that once again play into the world of automobiles, “Carry Me Home” picks up where “Yesterday’s Trash” left off offering up more raucous fuzz drenched riffs and warbly sounding organ, “R&R Cancer” ends the release. It is a Chuck Berry influenced, stripped down Rock track complete with 50s style piano, organ that doesn’t sound unlike ? and The Mysterians and lyrical subject matter that seems to either be a comment on the local music scene at the time or an addiction to Rock and Roll music.
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Some Other Guy Single - 1998

Following the release of Hentch-Forth, which was their fourth album at the time, even though it was technically considered a mini LP upon its initial release, Jack White left the group to concentrate more on The White Stripes. One more single was released for Gas Records from the sessions the “Ham & Oil/Club Wagon” single. While it was released in 1999, it did feature White on bass and both tracks were instrumentals. Hentch-Forth was reissued in 2007 with several songs featuring re-recorded parts. It was also remixed, remastered and appended to include the “Some Other Guy” single and “Ham & Oil” single, along with a few outtakes. The album was re-titled Hentch-Forth.Five. Hentch-Forth is an album that was created in a short period of time during the Detroit Garage scene in the 90s, before Jack White became well known and when he and many other bands for that matter played in multiple groups. This album inched forth with a reckless Rock & Roll abandon, and is often stated to be an example of the beginnings before Jack White was famous and that is true to an extent. But this album also provides us with a short and exciting example of a collaborative and vibrant music scene in Detroit that once was.

Tuesday, February 04, 2014

Og Music was established in Montreal, Quebec in 1983, by Gerard Van Herk and Tony Dewald, who were also in a two piece primal Sludgeabilly band called Deja Voodoo that drew on elements of 50’s Rock & Roll, Rockabilly, Garage and Punk music for their sound. While the label was initially established as a means to put out music by Deja Voodoo, it quickly grew into something larger going on to set new standards for independent Canadian music. Amongst a world of synthesizers and overindulgent music, Og Music set out to do things different taking things back to basics. The label would go on to not only release music within the Garage and Punk genres, but also Roots Rock, Rockabilly and associated genres and set up a network with other Canadian bands on a national scale. This was put forth in part by their It Came From Canada compilation album series and Deja Voodoo’s touring connections. The first two releases on Og were released on cassette format only, 1983’s Gumbo by Deja Voodoo, and Condition’s Dirty Business, but the label would switch to vinyl format following this and remain that way until the label was dissolved in 1990. The first vinyl release on Og, was a seven inch single compilation release entitled From Montreal, which can be seen as a precursor to the It Came From Canada compilation albums which would follow starting in 1985. These compilations would feature bands such as The Gruesomes, Jerry Jerry & The Sons of Rhythm Orchestra, Ray Condo & His Hard Rock Goners, Chris Houston, Shadowy Men On A Shadowy Planet, Cowboy Junkies and many others. There were five It Came From Canada compilations in total, in between these releases Og would put out full length albums and releases by The Gruesomes, Supreme Bagg Team, The Dik Van Dykes, and more. The labels first release from a band that was not within the Montreal scene was the 1985 album Road Gore: The Band That Drank Too Much by Jerry Jerry and The Sons Of Rhythm Orchestra who originated from Edmonton, Alberta.

Deja Voodoo drove around to their gigs with a willingness to play anywhere in a 1959 Ford Edsel which seemed to be a character of its own. The car would generate questions and at times confusion, but the label would draw attention from a variety of sources in addition to touring connections. Og bands and releases were also supported strongly by campus radio stations across Canada and CBC late night programs such as Brave New Waves and Night Lines, which further helped the labels status. An annual event was also put on called Voodoo BBQ’s, which started as a reason to bring the bands together featured on the It Came From Canada compilation albums. This live event would start in Montreal, but would also be held in other parts of Canada later on, such as Toronto and Ottawa. Deja Voodoo even went on to play shows in Europe building a following and releasing a live album entitled Live at the Backstage Club, Helsinki Finland in 1990. This album would be not only one of the band’s last releases, but also one of the last releases for the Og Music label.

Many of the bands featured on the It Came From Canada compilations went on to varying degrees of success. The Gruesomes were an extremely popular band on the label that did very well. Two other notable bands would be Canada’s instrumental combo Shadowy Men On A Shadowy Planet, who would go on to greater fame in Canada when supplying the theme song for the Kids In The Hall TV show and The Cowboy Junkies, who would only have one song featured on the label, “Blue Moon Revisited”. This song would be featured on 1988’s It Came From Canada Volume 5 and was an outtake from their Trinity Sessions album, which would go on to sell millions of copies when the band signed to a major label. Just before CD’s became the dominant format of choice in the 90s, Deja Voodoo and Og Records called it quits in 1990. Gerard and Tony went on to pursue other careers in different avenues, Gerard in the education field, Tony in the brewing of beer.

Og Music was a small, but largely influential label at the time. It can be seen as a metaphor for the beginnings of independently released music on a more national level in Canada. In the 90s and even today, Canadian music thrives in this regard. Deja Voodoo, the first band to put out a release on Og further serves as a symbol of what was essentially at that point in time the primal beginnings of Canadian artists taking matters into their own hands in terms of how they would release music. When the primal cycle outgrew itself, Og Music ended, leaving behind a blueprint that was seminal for releasing music that was alternative to the mainstream in Canada.

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About The Show

Revolution Rock is an award winning radio program on CJAM FM that first began broadcasting on CJAM’s airwaves in the late night hours of June 2004. Revolution Rock focuses on 60s garage rock, 70s punk/new wave, surf, alternative, indie and new/old music within those genres. Currently the show can be heard Saturday's from 7-9 PM on CJAM 99.1 FM (in the Windsor/Detroit area) and streamed online at cjam.ca. This is an informative blog that provides band profiles, download links to the radio show, playlists and more.

About Me

I am the host of the Revolution Rock radio program on CJAM 99.1 FM (Windsor/Detroit), freelance blogger/writer, musician and film maker.
Download links to my show are provided by the the CJAM website and can be found at the bottom of each play list on this blog and can also be subscribed to as a podcast.